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FLMC-2335-001 Screenwriting for Features, Shorts, and Documentaries
Advanced concepts and applied screen writing techniques for feature length film or video work and related new media storytelling.
Student ResourcesStudent Resources Website
Notice to Students enrolled in an educational program for preparation of issuance of certain occupational licenses:
Students enrolled in an educational program in preparation for obtaining certain occupational licenses are potentially ineligible for such license if the student has been convicted of an offense. For further information, please contact:
Melodie Graves
Justice Involved Advocate
Student Service Center 117
mgraves24@actx.edu
806-371-5995
Make appointment at https://melodiegraves.youcanbook.me
You can also contact the Legal Clinic, or the faculty member in charge of the educational program that you seek to enroll in. The further information you will receive will include notification to you of your right to request a criminal history evaluation letter from the licensing authority in order to clarify your particular situation.
(3 sem hrs; 2 lec, 3 lab)
Online Course
Recommended Texts (not required):
Screenplay by Syd Field
Story by Robert McKee
The Hero with a Thousand Faces by Joseph Campbell
Acquiring Films:
Fortunately, with today’s technology, most films are accessible online through streaming services or rentals. Every attempt has been made to find films for discussion that are accessible at no cost to students. Most films and TV series are accessible at the public library or through the streaming service Kanopy which can be streamed for free with a library card. There are a few instances where it may be required to rent the film. If you are unable to pay the rental fee, please inform the instructor and an alternative film can be assigned.
You must watch the assigned films and read the assigned scripts to participate in weekly discussions. It is your responsibility to acquire and view films. You can watch the films in any order and if you have watched them before, it is recommended that you rewatch the films so that you are prepared for class.
Disclaimer: Films in this course range from a PG rating to an R rating. R rated films can feature violence, language, sexual content, substance abuse, and nudity. If you are unable to watch a film due to personal convictions, please contact me at the beginning of the semester for alternative assignments.
• Analyze films and scripts in weekly class discussions
• Apply knowledge gained in discussions and analysis in the creation of your character for film or TV script
• Apply knowledge to create character backstory, logline and outline the first act of screenplay/teleplay
• Complete first 20 pages of script
In order to receive your AC Connect Email, you must log in through AC Connect at https://acconnect.actx.edu .
If you are an active staff or faculty member according to Human Resources, use "Exchange". All other students, use "AC Connect (Google) Email".
No behavior expectations available
• Virtual Class Discussion: 30%
• Logline, Character breakdown, Outline: 30%
• First 20 pages of script: 40%
You are expected to attend weekly class discussions to receive Virtual Class Discussion credit. However, if you are not able to attend a class, contact the instructor before the class. The instructor will send you questions about the film and screenplay that must be answered before the regular class begins to receive credit. Missing class for unexpected emergencies will be taken into account. Please discuss it with the instructor.
Disclaimer: It is your responsibility to research the ratings for the assigned films and decide for yourself whether or not you feel comfortable watching the film and/or reading the script. (IMDB provides explanations for a film’s rating.)
Week 1: Introduction and Class Overview
Learn who the screenwriter is, what they do, and how they do it. We’ll discuss the nuts and bolts of screenwriting. That means everything from the tools to formatting to the creative building blocks of a screenplay to include the three-act structure, loglines, outlines, etc.
ASSIGNMENT:
Write a logline for your film or TV series.
Watch the film Moonlight, written by Barry Jenkins
Read the script for Moonlight, written by Barry Jenkins
Week 2: Character and Three Act Structure
Discuss the importance of a three-dimensional character. The discussion will connect to the assigned film and scenes.
Workshop any loglines that have been turned in.
ASSIGNMENT:
Write a character breakdown for your main character
Watch the film Memento, written by Christopher Nolan
Read the script for Memento, written by Christopher Nolan
Watch assigned scenes as found on YouTube
Week 3: So what’s the story?
Discussion about plot, character arc, and getting your story from A to Z or in the case of the assigned film Z to A. Workshop any loglines or character breakdowns that have been assigned.
ASSIGNMENT:
Write an outline for your screenplay or teleplay.
Watch the film Locke, written by Steven Knight
Read the script for Locke, written by Steven Knight
Week 4: Location and the Universe of Your Story
Discuss the importance of your setting. The discussion will connect to the assigned film.
Workshop any loglines or character breakdowns that have been assigned.
ALL LOGLINES, CHARACTER BREAKDOWNS, AND OUTLINES DUE.
Assignments:
Write the first 20 pages of your script
Watch the film The Social Network, written by Aaron Sorkin
Read the script for The Social Network, written by Aaron Sorkin
Watch assigned scenes as found on YouTube (When Harry Met Sally, No Country For Old Men)
Assign students for the first workshop
Week 5: Dialogue. No Dialogue.
Discuss the importance of dialogue to create character and push the plot. But then we’ll throw a wrench in things and talk about how silence can also be just as powerful. The discussion will connect to the assigned film and scenes.
There will be a discussion on the rules and processes for workshopping pages. Students are expected to adhere to these rules. If they are not able to adhere to these rules so that workshop remains helpful to the writer and respectful to all parties, students will be asked to leave the class.
ASSIGNMENT:
Assign students for next workshop
Watch the film Get Out, written by Jordan Peele
Read the script for Get Out, written by Jordan Peele
Week 6: Workshop and Discussion about Genre
Workshopping your work can be difficult. But for you to grow as a writer, you must be open to criticism. And readers must acknowledge and respect the amount of work put into one’s work when they share their critiques.
The next set of students will have pages workshopped.
Discussion about film genre (drama, comedy, sci-fi, etc.) and how it influences your story. The discussion will connect to the assigned film.
ASSIGNMENT:
Assign students for next workshop
Watch the TV pilot for This is Us, written by Dan Fogelman
Read the script for This is Us, written by Dan Fogelman
Week 7: Workshop and Discussion about TV writing
The final set of students will have pages workshopped.
It may feel like TV has not been fully explored but that’s by design. Television today is so heavily influenced by feature filmmaking, that the differences between the two mediums aren’t as prominent as it once was.
Discussion about the differences between the types of TV writing.
ASSIGNMENT:
Ask for volunteers to have the first 20 pages workshopped. If multiple volunteers we will have a drawing.
Students prepare questions about business, next steps with their script, and any other remaining questions they have to discuss the business and the craft of screenwriting.
Week 8: Final Workshop and Q & A
Final workshop to discuss one student’s first 20 pages. This will be a thorough workshop utilizing all the knowledge gleaned throughout the class. This may be hard for the volunteer. So only volunteer if you have the courage.
After the workshop, students will be invited to pose any outstanding questions they have about the business and craft of screenwriting. Most importantly, they should ask lots of questions about page 21 and beyond.
THE FINAL 20 PAGES ARE DUE
COURSE DESCRIPTION
Advanced concepts and applied screenwriting techniques for feature-length film or video work and related new media storytelling. This is an introductory course in screenwriting for film and TV. The course will cover the art, craft, and business of screenwriting. The course will teach the classical screenplay three-act structure with a focus on dialogue, characterization, scene structure, and conflict.
END-OF-COURSE OUTCOMES
Analyze and evaluate screenplays to include standard script format; 'create own story concepts for feature-length projects and shorter form works; apply development techniques to expand specific concepts into synopsis or treatments; design structure and write screenplay using screenwriting software; describe and apply revision tools to writing. Students will complete the first act of a screenplay.
ASSIGNMENT SUMMARIES:
Virtual Class Discussion: 30%
As an online/virtual course, your interactions with your classmates and instructor will be limited to the weekly class meetings. Beginning in Week 1, you will be required to watch one film and read its corresponding script in preparation for our weekly class discussion. During class, the instructor will pose questions to the group and individuals about the film and script. You must be prepared to participate in the discussion. To receive full marks in the discussion, your opinion or feedback in the discussion should demonstrate that you watched the film and read the script. Therefore, your opinions and thoughts should be your own. They should not resemble plot summaries or opinions from online sources. To further clarify, the expectation is that you will thoroughly engage with the question and discussion.
Logline, Character breakdown, Outline: 30%
This class is designed to kickstart your first screenplay. To do that, you must understand some of the materials writers create to get them started on that journey.
A logline is a summary of your film or tv series. (Discussed and assigned Week 1)
A character breakdown is the backstory, traits, and wants of your story’s main character. (Discussed and assigned Week 2)
An outline is a slimmed-down, beat-by-beat representation of your script. You are only required to outline your first act. (Discussed and assigned Week 3)
All three of these must be completed and turned in by Week 4. However, it is recommended that you turn them in every week. Students who turn theirs in weekly can have their ideas workshopped in class.
First 20 pages of script: 40%
Beginning in Week 4, you will be ready to begin your script. In Weeks 6, 7, and 8, students will workshop 3-5 pages from their work in progress. This means that students will send a set of pages to the instructor and their classmates in preparation for the following class. Students may volunteer for each week, if there are no volunteers, the instructor will choose the students to present. At the end of the course, students will apply the knowledge they’ve gained about screenwriting and the notes from the workshop into the first 20 pages of their script.
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